Case Number 12026

DELIVERANCE: DELUXE EDITION

The Charge

This is the weekend they didn't play golf.

Opening Statement

Based on the best-selling novel by James Dickey and directed by John Boorman
(Excalibur), Deliverance ranks among the most famous films of all
time. The "Dueling Banjos" scene and the (in)famous "squeal like
a pig" scene come to mind instantly when thinking about this movie. To some
extent, the fame of these two scenes overshadows this meticulously constructed
and multi-layered film. At the same time, this is not an entertaining movie by
any stretch of the imagination.

Facts of the Case

Even if you haven't seen the film, is there anyone that does not know the
story? Four men from Atlanta, Lewis (Burt Reynolds, Smokey And The
Bandit), Ed (Jon Voight, Coming Home), Drew (Ronny Cox,
Robocop), and Bobby (Ned Beatty, Network), decide to go on a canoe
trip down the Cahulawassee River. This is their last chance to take the trip
because the river is being dammed to make way for a large hydroelectric
facility. Needless to say, the journey turns into a horrifying nightmare.

The Evidence

The key to understanding and appreciating the quality of Deliverance
is seeing through the literal actions occurring in the "squeal like a
pig" scene. (Note that I did not write that you will "like" or
"enjoy" the film.) If the only notable event in this movie was the
rape of Ned Beatty by a mountain man (Bill McKinney, The Outlaw Josey
Wales), Deliverance would have been forgotten 35 years ago and this
"Deluxe Edition" would have never been released. Thus, the film must
have some enduring qualities beyond one shocking scene. Unfortunately, some
critics think that there is not much substance behind the violence. For example,
upon its initial release, Roger Ebert wrote that the film was "pure
exploitative sensationalism," that it "fails [...] to make some kind
of significant statement about its action," and that it is "a fantasy
about violence, not a realistic consideration of it." While I can
understand this kind of reaction, I disagree with the assessment completely.
Also, I find Ebert's criticism odd given the high praise he has bestowed on
violent movies, including Pulp Fiction, The Wild Bunch, and
Bring Me The Head Of Alfredo Garcia.

Deliverance is a film that builds itself methodically and
efficiently. The opening 15 minutes introduces images, words, and events that
foreshadow the wickedness to come. In the introduction, a construction crew
strips and dynamites the landscape while Lewis talks about the "rape"
of the land. The banjo duel occurs minutes later. On the surface, the scene
appears to show a harmony between the city folk and the hillbillies through the
medium of music. This is true up to a point, but it should be kept in mind that
a duel is a competition with winners and losers: Drew starts the contest in
earnest by saying "I'm with you," but ends by exclaiming "I'm
lost." Soon after, Lewis, brimming with arrogance about his own abilities
and a lack of respect for the locals, hits a dead end when trying to find the
river. The hillbillies mock his mistake. In this way, the film reveals that the
destruction of nature, macho posturing, conflict between the city folk and
hillbillies, and the disconnection of modern civilization from nature will loom
large. Further, this opening strongly establishes that the four urbanites are
unaware that they are both out of their element and on hostile ground against
two foes: nature and other men. They are in for a shock.

Is the shock that ultimately arises necessary for the movie to make its
point? That's not a question I can answer definitively. However, the minds
behind this movie have their own views. In his commentary, Boorman describes the
mountain men as the "malevolent spirits of the forest," representing
nature's vengeance against the city men for their rape of the environment (i.e.,
the killing of the river). Alternatively, in 1970, Dickey wrote that the book
"is intended as a commentary on the threat of violence that is trembling
near us every day of our lives. Such violence need not take place in the
isolation of a mountain river, but poises ready to explode unexpectedly and
horribly in every city street and in every home." I think both
interpretations are valid, but Dickey's view taps into a more universal fear of
unexpected and unexplainable violence by strangers and even those familiar to
us.

So, what is the movie saying? A journey to reconnect with nature and assert
masculinity leaves all involved mentally and physically shattered to varying
degrees, ranging highly traumatized to fatal. Moreover, there does not appear to
be a road to recovery for the survivors. They are incapable of dealing with the
ordeal they have endured. When Bobby tells Ed, "I don't think I'll see you
for a while," it's clear that these events will never be discussed again.
Everything is buried literally and figuratively, but it always threatens to rise
back to the surface without warning. Peace of mind is gone forever. However, it
goes even further than that: Ed's wife soothes him when he has a nightmare by
saying, "It's all right. It's all right. Shh. Go to sleep. Go to
sleep." He slowly falls back asleep. And so, they may have started their
journey as men, but they have returned as scared (and scarred) boys. They may
have survived, but they are not heroes. Thus, the film leaves us with a
devastating critique of male rites of passage and macho exploits.

The performances are uniformly exceptional, and a major reason for the
film's success. All the actors from Reynolds to McKinney to James Dickey (as the
sheriff) fit their roles flawlessly.

The DVD's technical aspects are superb. The video transfer is excellent;
Boorman and cinematographer Vilmos Zsigmond's (The Long Goodbye)
desaturated compositions of the forest and river are both beautiful and
foreboding. The sound is similarly outstanding.

Kudos to Warner Bros. for this "Deluxe Edition"; it delivers the
goods with respect to extras. The holdovers from the 1999 release are the
theatrical trailer and the short 1972 making-of featurette "The Dangerous
World of Deliverance." The additions include a new commentary by Boorman
and four retrospective featurettes on different aspects of the film. The new
featurettes are comprised of recently recorded interviews with the cast, crew,
and Christopher Dickey (son of James). The commentary and featurettes are
insightful, covering all aspects of the film from casting, budgeting, themes,
stunts, symbolism, photography, and beyond. One of the most interesting
observations comes from Beatty when describing the reactions people had to the
film upon its release. He says that "women seemed to know exactly what it
was about," while men would make comments about canoeing or having shot a
bow and arrow.

The Rebuttal Witnesses

This is a classic and intelligent film, but the events that occur necessarily
limits its audience. Indeed, many will want turn away from it (if not simply
stop watching completely) during the rape and murder scene. This is
understandable. Unlike most movies, the violence in Deliverance is
neither trivialized nor presented as entertainment. This approach can have the
effect of blinding some viewers from seeing anything beyond the brutality.
Further, the non-triumphant and bleak conclusion is something that some viewers
will reject outright.

Closing Statement

Deliverance is an important and rewarding film that is worth watching,
but it's tough. While I admire the craftsmanship of the movie, I can't say that
I enjoy watching it. It is well made, thought-provoking, and unforgettable, but
there is no escaping the disturbing violence and the conclusions the movie
draws. If you haven't seen or heard about Deliverance, consider yourself
warned. It is a haunting experience.

The Verdict

Not guilty. This release is worthy of being called a "Deluxe
Edition."